nothing disappears completely

"nothing disappears completely, however; nor can what subsists be defined solely in terms of traces, memories or relics... in space, what came earlier continues to underpin what follows"

"absolute space is located nowhere. it has no place because it embodies all places, and has a strictly symbolic existence. this is what makes it similar to the fictitious/real space of language, and that of mental space, magically [imaginarily] cut off from the spatial realm, where the consiousness of the 'subject' - or 'self-consciousness' - takes form."

 henri lefebrve, the production of space, 1991

'obelisk *001' etching, aqua-tint print

i propose that the deformation of space through representation methods has the power to inform and unhinge our experience of space. gordon's work, seen above, caught my eye as i rambled through the 6th year studios of nottingham's architecture. beautiful and eerie.

input ≥ output

chase down the lines of enquiry

piranesi, giovan battista - fictitious 'prisions'

john soane - candle-lit parties

lebbeus woods - incredible interpretations

andrei tarkovsky - extremely long takes
jorge luis borges - nature of time, infinity, mirrors, labyrinths, reality, philosophy, and identity

below: one 5 prints from a zinc etching plate.

i don't think he can get out of there

a line describing a cone

anthony mccall concieved this piece to disengage his work from the notion of a single aspect experience. aside from interesting transformations of visitors between their role as the spectator and their role as performer [as they interact with the projection][perhaps in being the performer here, there is no opt-out option, other than by accident], aside from this, mccall scripts a three-dimensional transformational space-invoking gesture, your experience of which is unique to your position in the room, moment of view and your state of motion.

i'm reminded of the otherwise insignificant moments when i walk down the level 6 corridor and the low-penetrating evening sun triumphs in casting odd blades of pure light deep in the heart of the building. if every deviation from the earth's surface can act as a sun dial, in a sense, the matthew building is an alien spaceship

level 5 never feels this light.

axis [...searching for the zenail passage]

pre-edit

it's like some sort of evolving, growing thing;
there are common genes in each item, but the
necessarily progressive mutations intrigue me

we reviewed the sheet music projects today
to present, each student hung, from the ceiling, their collage images in the studio
there is something of this exhibition style which i think we could use throughout the year

display vs exhibit...

astronomersinstrument

turrell on light

james is serious about light

prologue

photography took my attention last year.

- find a shop which sells film... choose a type of film to buy... no, not that one, too expensive [and you have to post it to get developed]... uncover your interest/subject/object... gauge the settings... snap. finish the film... book into the dark rooms... flick off the lights... pop out the film and load the reel... bathe in toxic chemicals and rinse... dry the film... go for a tartans... chop it up... pick a favourite... load up the enlarger... set the timer... flick off the lights... align and focus... sacrifice some paper and test your settings... not bad... load up a big one... and maybe another cause you don't want to be in there till lunch... submerge in the chemicals... bathe, rince then dry... and presto, you're a photographer

what i'm describing is specific yet what interests me about this photography is a more transferable quality i've yet to understand

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people i'm talking looking at

james turrell

eduardo chillida

antony mccall

arthur zajonc

gernot böhme